Gustav Mahler’s first symphony is, in our opinion, one of those compositions that should be heard in a live performance to appreciate its unique and sometimes sudden variations of tempo, instrumentation, and even distance (the trumpets are sometimes played from offstage).
It was originally conceived of as “programmatic music,” a musical poem or narrative intended to kindle images and associations in the listener’s mind. For a while, therefore, the symphony also carried the title “Titan.”
The first performance in Budapest, conducted by Mahler in 1889, did not go down well with the audience. Those present were confused in their expectations of hearing a symphonic story and overwhelmed by the weaving and juxtaposing of thematic counterpoints.
Mahler’s first symphony skillfully switches from one extreme mood to another without giving the impression of a break. In particular, its third “funeral march” movement sets a despairing canon based on the folk song “Frère Jacques” against a cheerful parody melody, demonstrating the painful coexistence of tragedy and triviality in life.
Then, the final movement continues directly without interruption. It is opened by an abrupt cymbal crash, which is immediately followed by a strikingly dissonant chord produced by the woodwinds, strings, and brass. In a letter to publisher Bernhard Schuster, Mahler described this opening as “The sudden outburst… of despair of a deeply wounded and broken heart” that ultimately gains a triumphant, lasting victory.
In this recording, we are hearing the Lucerne Festival Orchestra under Maestro Claudio Abbado, who had a special affinity for the music of Mahler throughout his life. In the audience, we can spot another famous conductor: Sir Simon Rattle.
Related:
Symphony No. 1 by Gustav Mahler (Wikipedia)
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